Museum Entrance Area

The Isamu Noguchi Garden Museum Japan preserves 150 sculptures, including many unfinished works. The most unfinished sculptures are located outdoor atelier, inside of the stone circle. The place does not feel like an ordinary museum – there are no name tags on any of individual works. The working atmosphere of Noguchi’s studio is very well preserved that it almost feels like you can expect to see Noguchi himself to walk up at any time.

The Stone Circle

The indoor sculpture space called “Display Kura” outside of the stone circle contains Noguchi’s sculptures including the Energy Void (1972). The building was originally a sake warehouse from the1880s. It was relocated to this location to house his sculptures, keeping them away from the weather.

The Isamu Ya (Noguchi residence) is located across from his studio. The house is a traditional Japanese style house from the 1760s. Although Noguchi adored the traditional architecture of this house, he enjoyed modern conveniences as well – heated tatami floors! The visitors can only view the interior from the entrance and through the windows. The house is uncluttered and has little furnishing.

The Noguchi House behind the sculpture on the right

There is the Sculpture Garden on the hill behind the Isamu Ya. The view from the hill was magnificent. I could just sit and enjoy the view for hours and hours. Noguchi described this garden as “a song of praise to nature.” He said, “It is a wonderful place to be at, almost anytime… Nature rampant. Then I take a snooze. And a friend comes to visit.”

The Museum Shop

The day I visited the museum was cold and rainy. There were about 17 people in my tour group and many were complaining about the unfortunate weather situation. I thought the rain was nice, giving the outdoor sculptures a soft feeling and different expressions that can only be seen when the stones were wet. I really enjoyed the rustic scenery where everything was so quite, away from the city disruptions. After everyone had left, I went back a little street towards the studio, just to enjoy the quietness. I closed my eyes and listened the rainfall, imaging the sound of Noguchi working on his sculpture echoing among the hills.

Kouros (1944-1945)

Noguchi returned to the United States in 1918 for schooling. He later enrolled in Columbia University to study medicine, while at the same time taking sculpture classes at Leonardo da Vinci Art School. It did not take too long for Noguchi to realize his true calling was art, not medicine. He left Columbia to pursue sculpture full time. In 1927, Noguchi left for Paris on a Guggenheim Memorial Fund Fellowship and worked with a sculptor, Constantin Brancusi. He then traveled through Europe and Asia and finally returned to New York City in 1929. In New York, Noguchi earned recognition with his portrait sculpture. Noguchi’s artistic career spanned from then to next 60 decades. He was known for his sculpture, public works, stage set designs, furniture, and light fixtures.

Red Cube in NYC

For mid century modern design enthusiasts like us, Noguchi is most well known for his furniture and interior designs. Noguchi designed his first table in 1939, a commission for A. Conger Goodyear, the president of the Museum of Modern Art. This glass top table with rosewood supports was the first of a series of related designs. His revised table design was used to illustrate George Nelson’s article entitled “How to Make a Table.” The table was put in production by Herman Miller between 1947 and 1973. This “Isamu Noguchi Coffee Table” became one of his most well known works and was reissued by Herman Miller in 1984. In addition to the famous coffee table, Noguchi designed other furniture pieces and light fixtures such as Cyclone Tables, Rocking Stools, Cylinder Lamp, a series of Akari lamps etc.

Isamu Noguchi Coffee Table

Today, Noguchi’s notable works are seen in many parts of the world and at the Noguchi Museum in Long Island City in New York and the Isamu Noguchi Garden Museum Japan in Mure, Japan.

Tramway Gas Station (now the Palm Springs Visitor's Center)

Albert Frey (1903 – 1998) was a Swiss-born architect who had contributed in introducing a modern architecture style that came to be known as “desert modernism” around Palm Springs, California. Born in Zurich, Switzerland, Frey was trained as an architect at the Institute of Technology in Winterthur, Switzerland. Frey worked on various architectural projects in Belgium until he landed on a position in the Paris atelier of the International Style architect, Le Corbusier in 1928.

Frey came to New York in 1930. He was the first Le Corbusier disciple to practice architecture in the United States. In New York, he became partners with A.L. Kocher in developing the innovative Aluminaire House for an exhibition in 1932. It was 1934 when Frey was introduced to the California desert. He came to Palm Springs to supervise a construction project of the Kocher-Samson Building. Frey briefly returned to New York, but permanently relocated to Palm Springs in 1939.

Palm Springs City Hall

In Palm Springs, Frey worked on many structures including residential, commercial, institutional, and civic buildings, often partnering with other architects such as John Porter Clark and Robson C. Chambers. Significant structures by Frey include: Frey House I and II; Palm Springs City Hall, Palm Springs Aerial Tramway Valley Station, and Tramway Gas Station (now used as the Palm Springs Visitor’s Center). These iconic buildings became the landmarks of Palm Springs and attract many visitors from all over the world today.

Ant Chair

Arne Jacobsen (1902 – 1974) was a multi-talented Danish modern designer mostly known for his architectural work and furniture design. In addition, Jacobsen showed his talent in designing consumer goods, lamps and textiles. Jacobsen was originally trained as a mason, but later pursued his studies at the Royal Danish Academy of Fine Arts in Copenhagen, graduating in 1928.

Arne Jacobsen opened his own architectural office in 1930. His first major architectural project was the Bellavista housing development in the early 1930’s. Jacobsen’s most known architectural projects include SAS (the airline company) building which contained an airport terminal as well as the Royal Hotel in Copenhagen and St. Catherine College in Oxford, England. For the Royal Hotel, Jacobsen designed every detail from furniture including his famous “Swan” and “Egg” chairs to textiles, lighting, wall panels, door hardware and tableware. For St. Catherine’s he designed every detail as well.

Models 3207, 3108 and 3107 Chairs

Other than the “Swan” and “Egg” chairs designed for the Royal Hotel, Arne Jacobsen’s notable furniture designs include the three legged (later a four legged version was also introduced) stackable chair called the “Ant” chair (1952) and the “3107” chair (1955), also known as the “Series 7” chair. The “Ant” and “Series 7” chairs were manufactured by Fritz Hansen in great numbers and the success of these chairs propelled both Jacobsen and Fritz Hansen’s names into furniture history.

Fritz Hansen has been manufacturing Jacobsen’s furniture since 1930’s and remains the same to this day. Just like many other mid century/Danish modern designers, Jacobsen created sleek, elegant, yet functional furniture pieces with timeless appeal that are cherished by many people today.

Panton Chair

Verner Panton (1926 – 1998) was one of the most influential Danish modern designers of the 20th century. Over the course of his career, Panton successfully introduced ground breaking interior designs, including furniture, lighting, floor covering, wall covering, and textiles using a variety of materials and vibrant colors.

Just like many others designers of the era, he was trained as an architect. Panton studied architecture at the Royal Danish Academy of Fine Arts in Copenhagen. After graduating the academy, he started his apprenticeship for Arne Jacobsen in early 1950’s, assisting Jacobsen’s various projects including the iconic “Ant” chair. In 1955, Panton opened his own practice in Copenhagen. In following years, he introduced innovative architectural ideas, such as the prefab collapsible house (1955), the “Cardboard House” (1957), and the “Plastic House” (1960).

Verner Panton Lamps

Panton’s innovative chair designs were probably his most significant contribution to mid century design. In 1958, Panton introduced “Cone” chair and later, “Heart” chair, on a slight variation. Both chairs were made of upholstered conical sheet metal, with a tip pointing down, placed on a cross shaped metal base. In 1960, the “Stacking” or “S” chair (or simply known as “Panton chair”) was introduced. The Panton chair was the first example of single-piece injection molded plastic, but its production was delayed because of the technological challenges. In 1967, the Panton chair was finally put into production by Vitra, the European licensee of Herman Miller, Inc. The success of the Panton chair brought him international recognition.

With his success in chair designs, Panton made his name as a visionary designer. In the late 1960’s and early 1970’s Panton began experimenting in designing entire living spaces by fusing different elements such as flooring, walls, lighting, furniture, and soft furnishings with vivid colors and geometric shapes. Panton’s unique designs are easily recognizable. Many of his designs are still in production today by the companies like Vitra and Fritz Hansen.

Photo: Verner Panton Lamps by Hollaender

At Herman Miller, Girard successfully introduced a new concept in textile design with his vibrant color palette and playful patterns inspired by traditional folk art he cherished. In early 1950s, fabrics were merely functional, but they tended to be dull and plain. His textile designs complemented the furniture designs of his fellow mid century modern designers, Charles Eames and George Nelson. Girard’s work at Herman Miller continued until 1975, designing hundreds of fabrics as a result. He also developed a seating collection for the company between 1967 and 1968. Originals from this collection are rare and highly desirable among many collectors today.

Apart from Herman Miller, Girard designed three restaurants in 1960’s: the La Fonda del Sol restaurant, in New York City; the L’Etoile Restaurant, also in New York City; and the Compound Restaurant, in Santa Fe, New Mexico. He also contributed in a design project of Braniff Airlines in mid 1960’s, totally redesigning everything from the condiment packets to the planes themselves. During 1960’s, Girard and his wife Susan moved to Santa Fe, New Mexico where he founded the Girard Foundation to manage more than 100,000 pieces of his folk art collection. This enormous collection was donated to the Museum of International Folk Art in Santa Fe in 1978 and recognized as the world’s largest folk art collection today.

After retiring from the design industry, many of Girard’s designs fell into disuse. Partnering with the Estate of Alexander Girard, a company called máXimo reintroduced Girard’s designs in 2000. Products available today include fabrics, cushions, wooden dolls, toys and carpet tiles. Girard’s unique, colorful and charming designs remain fresh and vibrant and are still cherished by many people today.

Eames Hang-It-All

A husband and wife team, Charles (1907 – 1978) and Ray (1912 – 1988) Eames are among the most influential designers of American design history. Together, they contributed in furniture design, architecture, film, art, exhibits, and graphic design.

Charles Eames studied architecture at Washington University for two years. Many sources claim that he was dismissed from the University for supporting Frank Lloyd Wright and modern architecture. In 1930, he started his own architectural office in his hometown St. Louis, Missouri. In 1938, he and his family (wife Catherine and daughter Lucia, they divorced in 1941) moved to Michigan, to study at Cranbrook Academy of Art, where he later became head of the industrial design department. Ray studied abstract painting with Hanns Hofmann in New York before beginning her studies at Cranbrook Academy of Art. At Cranbrook, Ray assisted Charles and Eero Saarinen’s design project for “Organic Design in Home Furnishings” competition at the Museum of Modern Art.

Eames Fiberglass Chair

Charles and Ray married in 1941 and settled in California where they continued to develop many innovative products using molding plywood. During World War II, they developed designs for splints and stretchers for the U.S. Navy. The production of their molded plywood furniture collection, featuring dining tables, dining chairs, lounge chairs, occasional tables, and a screen began shortly after the war ended in 1946, first by Evans Products Company and then by Herman Miller, Inc.. Various designs of their molded plywood furniture have remained in production to this day. They also designed furniture with other materials such as chairs using molded fiberglass, cast aluminum, and bent/welded wire mesh. Regardless of the style and material, their furniture was always sophisticated, yet simple and functional. Their design focused on improving ordinary people’s quality of life by fulfilling their needs.

Eames Plywood Elephant

Though Charles and Ray Eames are well known for their furniture design, they also devoted their time in other areas such as architecture, films, and exhibits. In 1949, they participated in the Case Study House Program sponsored by a magazine called “Arts and Architecture” and designed and built their own house known as the “Eames House.” They have also produced more than 100 short films, such as “Powers of Ten.” They also designed showrooms and toys for children. Regardless the form of design, Charles and Ray Eames successfully proved that good design can make the world more interesting and improve people’s quality of life as well.

Paul McCobb Planner Group Credenza

Paul McCobb (1917 – 1969), furniture designer and decorator, contributed in bringing modular furniture into American household. Though he did not have any formal training in design, he established a studio in 1945 and worked as a decorator and display designer in retail industry.

 
By 1950, he began designing furniture and launched his stylish, yet affordable line of furniture collection called Planner Group. The Planner Group collection was one of the best selling 1950′s furniture collections. Although he also designed more luxurious collections such as the Directional, Predictor Linear, and Perimeter Lines, his main target was the average American family of post World War II. His flexible and functional furniture designs successfully met the needs of the middle-class household.

Contempri Eclipse Dishes

Paul McCobb also designed a line of dinnerware called “Contempri” for Jackson Internationale, a subsidiary of Franklin China of Falls Creek, Pennsylvania. The Contempri line includes patters such as “Eclipse,” “Sparkler,” “Hopscotch,” and “Frost.” McCobb’s vintage furniture pieces are highly desirable among collectors, partially because there are currently no reproductions of Paul McCobb’s furniture made.

Sarrinen Tulip Table & Chairs - photo by m.bibelot

Eero Saarinen (1910 – 1961), a Finnish-born architect and furniture designer, studied sculpture in France and architecture at Yale University. He came to the United States in 1923 at age thirteen with his father, Eliel Saarinen. His father was a prominent Finnish architect who came to teach architecture at the University of Michigan. His father also taught at Cranbrook Academy of Art where he later became the director of the academy.

Kresge Auditrium at MIT

After studying at Yale, Saarinen joined his father’s practice. He opened his own practice after his father’s death in 1950. Saarinen’s architectural accomplishments include General Motors Technical Center in Warren, Michigan; the Gateway Arch in St. Louis, Missouri; the Kresge Auditorium and chapel at MIT, Cambridge, Massachusetts; the TWA Flight Center at John F. Kennedy International Airport; and the main terminal of Dulles International Airport.

Like many other architects during this era, Saarinen also designed furniture. He collaborated on various furniture projects with his long time friend Charles Eames. The first recognition of his furniture design came in 1940. A molded plywood chair with complex curves he and Charles Eames designed won a competition called “Organic Design in Home Furnishings” held at the Museum of Modern Art (MOMA) in New York City. Later Saarinen joined Knoll Associates and designed various pieces such as the “Grasshopper” lounge chair and ottoman; the “Womb” chair, ottoman and settee; “Tulip” tables and chairs and a series of office chairs. His designs, especially the “Womb” chairs and ottoman and the “Tulip” collection became iconic in mid century modern furniture design and have remained the same to this day.

Photo by m.bibelot

Bertoia was also well known for his talent in sculpture. He created many monumental architectural pieces in public places such as the large copper and bronze fountain for the Philadelphia Civic Center in Pennsylvania, the bronze sculpture at Dulles International Airport near Washington, D.C, and decorative metal sculptured screens for major companies and educational institutions.